Uttaradhikar Festival of the Raza Foundation showcases talent of young artistes of the Generation Next. They are worthy disciples of eminent Gurus, who have proved themselves worthy inheritors of the classical music and dance tradition, bequeathed by their respective teachers.
The sitar recital by Rajeev Janardan, disciple of Pt. Arvind Parikh and Kathak by Rupanshi Kashyap, disciple of Guru Kumudini Lakhia, presented at the Stein auditorium of India Habitat Centre on the inaugural evening, seemed to have claimed the inheritance with dedication and single minded sadhana or hard work. The three-day festival also presented Hindustani vocal by Saniya Patankar, trained under Vidushi Ashwini Bhide, and sarangi recital by Farooq Latif Khan, disciple of Ud. Abdul Latif Khan.
Rajeev Janardan played raga Yaman with a detailed aalap, jod and jhala followed by a slow vilambit and a medium tempo drut gat composition set to Teentala accompanied on tabla by Ud. Akhtar Hasan. His sitar had the kind of calm and composure, hardly visible in the cleverness, speed and athleticism of the present generation. Rajeev was wise, knowing and understated, and his presentation was as delicate and fragile as the raga.
Maintaining musicality
The inheritance of ‘Vilayetkhani Baaj’ and its melodiousness seemed subtly integrated with a probing strategy of working on ragas’ melodic points. And this aesthetic approach lasted till the end, where even his concluding jhala maintained the same musicality till the last tihai. This is what the tradition must do and this is the whole point of ‘Uttaradhikar’, the claiming of the inheritance!
Tribute to Guru
Pracheen Kala Kendra, Chandigarh was established in 1956, by Guru M.L. Koser. As a tribute to the late Guru, the Kendra organised its 5th Guru M. L. Koser Music & Dance Festival at the Stein auditorium of India Habitat Centre recently. The two-day festival featured Pt. Rajendra Prasanna and Pt. Venkatesh Kumar on the inaugural evening and Pt. Bhajan Sopori and Pt. Rajendra Gangani, the renowned Kathak exponent and Guru of Jaipur Gharana of Kathak dance, the next evening.
Rajendra Prasanna, an equally accomplished shehnai and a flute player, gave a flute recital. He was assisted by both his sons and disciples Rajesh and Rishabh Prasanna. Opening with an introductory auchar of the evening raga Puriya-Kalyan, he played the Vilambit composition set to Vilambit Ekatala, etching the contours of the raga with due care. The drut gat set to Teentala had spurts of 8-8 matra taans by Prasanna, where the two sons kept catching up the mukhda.
The ati drut composition in Teentala concluded with the speedy jhala. This was followed by a dhun in Pilu with romantic flavour, but for the jarring effect of the tiny flute, that sounded off-key at times.
Pt. Venkatesh Kumar, accompanied by Pt. Vinod Lele on tabla and Dr. Vinay Mishra on harmonium, took the stage thereafter and opened his vibrant vocal recital with ‘Rasia ho na ja….”, the most popular bada Khayal of raga Maru-Bihag. His finely tuned, slightly stark vocal timbre and the relaxed, easy-going style of singing developed the raga in a laid back way, comfortably taking the pace of the raga with the most soothing effect.
Pandit Venkatesh Kumar
Gradually progressing through each note with imaginative vistar, he created a shimmering web of beauty around the Tar Shadja before reaching the pivotal note. After delineating the antara, he started playing the rhythmic patterns and the crystal clear aakar taans. The chhota Khayal in Teentala saw him enjoying varied taans mirrored in harmonium and tabla.
Pt. Bhajan Sopori supported by Ud. Akram Khan on tabla and Rishi Shankar Upadhyay on pakhawaj on either side, played raga Jog on santoor and revelled in the antics that got him repeated rounds of applause.
